Tasha Robinson

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For 584 reviews, this critic has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 0.2 points higher than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Ponyo
Lowest review score: 0 Shark Night 3D
Score distribution:
  1. Negative: 53 out of 584
584 movie reviews
    • 65 Metascore
    • 72 Tasha Robinson
    This humor could be profoundly ugly, given how it's aimed at reducing other people's grotesque deaths to punchlines. But first-time director Tim Miller keeps the tone light — in his hands, Deadpool is more a snickering, naughty nut than an authentic sociopath.
    • 65 Metascore
    • 79 Tasha Robinson
    Wheatley's past films —€” the dark comedy Sightseers, the genre-defying slasher Kill List, the weird black-and-white micro-project A Field In England —€” come together in this film, which is crazed and violent, strange and appalling, image-driven and a moral lesson, and just plain strange. But Hiddleston's combination of placid calm and seething, hidden rage gives it all an anchor.
    • 65 Metascore
    • 58 Tasha Robinson
    Unknown White Male has flashes of brilliance: Murray stretches out the dramatic tale of Bruce's first terrifying hours of recall, and Bruce's raw misery as he recounts those events is deeply affecting.
    • 65 Metascore
    • 83 Tasha Robinson
    Though Prometheus follows "Alien's" story beats, it's a looser and less satisfying story, more intellectual than visceral, and not fully satisfying on either level. But in part, that's because it's trying to do so much more.
    • 65 Metascore
    • 50 Tasha Robinson
    It's too focused on capturing a bygone moment and portraying it as the present, while the band and the couple have inevitably moved on, to a new album, a high-profile suicide at one of their concerts, a band hiatus, and well beyond.
    • 65 Metascore
    • 50 Tasha Robinson
    Kingsley is one of very few lively things about Polanski's plodding, by-the-numbers Oliver Twist. And in this dreary setting, he comes across more as a desperate clown than a saving grace, which makes it all the more awkward that no one else is clowning along with him.
    • 65 Metascore
    • 67 Tasha Robinson
    The problem with The We And The I: Gondry is focused more on moments than on the film as a whole.
    • 65 Metascore
    • 50 Tasha Robinson
    Most of the content of this film is wheel-spinning or conscious setup for the final installment, and that feels apparent at every melodramatic moment.
    • 64 Metascore
    • 67 Tasha Robinson
    Essentially, The Way starts out as "Eat Pray Love" and takes a long, surprising trip toward becoming David Lynch's "The Straight Story." And that's a longer trip than a mere monthlong trek across Spain.
    • 64 Metascore
    • 70 Tasha Robinson
    Everything about the way this story is rendered makes it feel much bigger than the characters and their limited travails can make it.
    • 64 Metascore
    • 75 Tasha Robinson
    As a pure cinematic experience, it's exhilaratingly, brutally beautiful.
    • 64 Metascore
    • 60 Tasha Robinson
    A gorgeous film, framed with an eye that makes every country seem beautiful in one way or another. It's probably fitting that the human element seems fragile and flat by comparison, but the contrast leaves Beautiful Country fairly bland.
    • 64 Metascore
    • 75 Tasha Robinson
    A Better Life leans too heavily on sad music, broad symbols, and weighty speeches to tell its story; it's more effective when it lets images speak in place of words.
    • 64 Metascore
    • 42 Tasha Robinson
    Most of the film isn't as willing to reach out to viewers, and most won't be willing to do all the work in order to connect with it.
    • 64 Metascore
    • 70 Tasha Robinson
    The film is as low-key and internal as the meditation it touts, and nearly as uplifting.
    • 64 Metascore
    • 75 Tasha Robinson
    "Chasing Amy" star Joey Lauren Adams makes a competent, tender writing and directing debut with Come Early Morning, but the film is still entirely in Judd's hands.
    • 64 Metascore
    • 67 Tasha Robinson
    Mostly, it just stands out in a crowded field of tacky also-rans by being a reasonably acceptable, more or less non-obnoxious way to spend an hour and a half.
    • 64 Metascore
    • 58 Tasha Robinson
    The filmmaking is prosaic, the pacing sleepy. It's a solid but unremarkable experience, perfect for insomniacs watching the History Channel late at night, but not nearly as satisfying as simply re-reading Lee's book.
    • 64 Metascore
    • 91 Tasha Robinson
    It's the most glorious, wonderful mess put onscreen since Terry Gilliam's "Brazil."
    • 64 Metascore
    • 75 Tasha Robinson
    For all the inevitable comparisons to March Of The Penguins, Arctic Tale isn't quite a nature documentary.
    • 64 Metascore
    • 67 Tasha Robinson
    Jack Goes Boating tells a tender story reasonably well, but it rarely lets viewers feel the emotions instead of thoughtfully observing them.
    • 64 Metascore
    • 51 Tasha Robinson
    Café Society is an incredibly pretty movie, and a generally unobjectionable one. But like so many Allen films, it feels like it was made primarily for his therapist, and letting the rest of the world in to see it and make their own diagnoses is an afterthought.
    • 63 Metascore
    • 50 Tasha Robinson
    Ultimately heads into a standard mismatched-buddy drama that would nestle nicely into a Hallmark movie of the week.
    • 63 Metascore
    • 60 Tasha Robinson
    It's daring and it's different.
    • 63 Metascore
    • 75 Tasha Robinson
    It's stylish, pretty fun, but not the kind of ambitious effort that should make the world sit up and take notice.
    • 63 Metascore
    • 75 Tasha Robinson
    The film is a sumptuous, handsome portrait of a woman poised fearfully on the brink of decline, yet too proud to grab at rescue.
    • 63 Metascore
    • 80 Tasha Robinson
    What makes Human Capital a worthwhile experience is the way [Virzí] focuses on understanding his characters’ desires, rather than deriding them as unworthy.
    • 63 Metascore
    • 67 Tasha Robinson
    The problem is that so little about Hooper's Les Misérables feels integrated. The cast feels like a grab bag of talented stage vets and garish stunt-casting choices, particularly Baron Cohen and Bonham Carter, who perform the fan-favorite comic number "Master Of The House" as a jerky, staccato series of show-off moves and attempted but inadequate scene-stealing.
    • 63 Metascore
    • 60 Tasha Robinson
    Three Of Hearts seems like an unwieldy mating of two films: one a glossy documentary about the fictionalized perfection that three lovers and a director wanted to believe in, and another about the all-too-human truth.
    • 63 Metascore
    • 83 Tasha Robinson
    Svankmajer's nihilistic story isn't for everyone, but he skillfully manages its disturbing execution in ways no one else could, and he brings it across in a darkly comedic way that encourages simultaneous laughter, horror, and thought. If that isn't art, what is?

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